Made over six years in the hotels of six different countries, Hotel Diaries is a series of video recordings which relate personal experiences to the current conflicts in the Middle East. In these works, which play upon chance and co-incidence, the hotel room is employed as a 'found' film set, where the architecture, furnishing and decoration become the means by which the filmmaker's small adventures are linked to major world events. Works in the series include Frozen War (Ireland, 2001), Museum Piece (Germany, 2004), Throwing Stones (Switzerland, 2004), B & B (England, 2005), Pyramids/Skunk (The Netherlands 2006/7), Dirty Pictures (Palestine 2007) and Six Years Later (Ireland 2007).

Galoot (Exile in Hebrew) is an intimate saga that touches on the seeds of the pains and tragedies now transformed into the entrenched Palestinian/Israeli conflict. A temporary exile from his homeland allows an Israeli filmmaker to see the conflict with new and provocative eyes. Through his Palestinian and Israeli friends and through his and his wife's personal journeys, Galoot provides a reflective voyage through homes and deserted homelands in Israel, Palestine, Poland, Morocco and England.

American documentary filmmaker James Longley travelled to the Gaza Strip in January of 2001, planning to stay for two weeks and collect preliminary material for a film about the Palestinian intifada. He threw away his return ticket and stayed for another 3 months, shooting over 75 hours of material throughout the Gaza Strip. GAZA STRIP follows a range of people and events following the election of Israeli Prime Minister Ariel Sharon, including the first major armed incursion into "Area A" by IDF forces during this intifada. The film is filmed almost entirely in a verite style, presented without narration and with little explanation, focusing on ordinary Palestinians rather than politicians and pundits.

Gaza, War in Media presents a series of interviews that challenge the official Spanish media account of Israel's Operation Cast Lead, in which 1,400 Palestinians died and 5,000 people were wounded, most of them civilians. According to this version, Israel was “defending itself” from the launch of Qassam rockets by Hamas, by massive bombardments to destroy the “infrastructure” of this “terrorist” group. In reality, the bombardments and the ground offensive by the Israeli army targetted the civilian population of the Gaza Strip, as shown by the Goldstone report commissioned by the UN Human Rights Council.

A film that recounts the situation in Gaza in the wake of Operation Cast Lead. As the filmmakers explain, “We came to Gaza the day after the start of the war and discovered the extent of the Gaza-strophy.”

This documentary by filmmaker Shelley Saywell takes the viewer beyond the headlines and into the minds and hearts of Hamas. Sayell and her two-person crew spent many months securing unprecedented access not only to the current leaders of Hamas, but also one-on-one interviews with insightful, knowledgeable Israelis and Palestinians not often heard from. A crucially important resource was consultant Olivia Ward, a veteran Toronto Star journalist whose intimate knowledge of, and credibility within, the region proved invaluable.

The birthday of this video's fictional filmmaker, Avi Mograbi (also the name of the real director), is the same day as the 50th jubilee anniversary of the founding of Israel, a day observed by Palestinians as "Al Nakba" or the Catastrophe. Mograbi is hired first by Israeli television to film the events leading up to the jubilee and then by a Palestinian producer who wants him to film the ruins of Palestinian villages and towns in Israel. To make matters worse, he is enmeshed in a real estate deal with his neighbours and enraged buyers arguing over property boundaries. The collision of these three anniversaries, two film jobs and a dispute over property lines takes this fictional "documentary" into the depths of Israeli and Palestinian daily life and a shared 50-year history.

Hay mish Eishi, features portraits of 8 Palestinian women from different social and religious backgrounds exploring how they live war and imagine peace in the profound depth of lived realities and felt pains. These are not unusual women, women leaders or exceptional women in the news media sense. They are media and theatre professionals, farming women, a cleaning woman, a boutique owner, a university student, a high school teenage girl, and housewives. These are the ordinary lives which make up the news and which the news makes invisible. They speak with passion, bewilderment, anger, rage and outrage?.they situate themselves in a life of dignity and productivity, where their lives and actions are not reduced to a bundle of fear.They speak of profound losses - of self and direction, livelihood, land, homes and family members. What they say so powerfully and directly through their hopes and wishes is that they want a life of meaning, of sharing, of giving, of routines and rituals, of loving and caring, of ordinariness with all its blessings and grace.They do not want the degrading, terrorizing drama of war

To Ikhlas, a young mother, the most important things in life are her two children, all that is left from an arranged marriage in her teens. Her youngest son Nasser was imprisoned by the Israelis when he was only 15 for defending the cause of the Palestine people. Ikhlas is willing to accept any sacrifice in order to remain in contact with him, but she cannot help wondering whether this is really what her people need to do in order to defend themselves.